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CreSENS F. © MATER DOLOROSA L. Leo | E . BARBELLa | F. Durante | A . ScARLATti | G. B. Per GOLESI MATER DOLOROSA LEONARDo LEo (1694-1744) sinfonia dall’ oratorio santa elena al calvario | EMANUELe BARBElla (1718-1777) concerto a quattro fugato sul stile di chiesa in d minor | FRANCESCo DURante (1684-1755) concerto nr. 8 in a major (“la piazza”) | ALESSANDRo ScARLATti (1660-1725) ouverture of the oratorio cain overo il primo omicidio | GIOVanni BATTISTa PER GOLESI (1710-1736) stabat mater in f minor LENGTH NAPLES, BUSY ACHIEVING POLITICAL INDEPENDENCE, EMBARKED ON 35 minutes + 45 minutes A CONSIDERABLE ARTISTIC FLIGHT IN THE 17TH CENTURY, ACQUIRING PRE-EMINENCE IN THE FIELD OF MUSICAL CREATIVITY IN ITALY, AND PERFormers: 15 muSICIANS OVERSHADOWING OTHER CITIES SUCH AS ROME AND VENICE soloists soprano, alto The demand for music from all the Neapolitan institutions, churches and theaters, les muffatti together with the quality expected, encouraged the founding of genuine musical 6 violins, 2 violas, 2 cellos, conservatori. This program spans several generations of composers, all of whom double bass, organ, lute were either a teacher or student at one or other of the Neapolitan conservatoria. TIMEFRAME Leonardo Leo was one of the most important Neapolitan composers of oratorios Season 2017-2018 and operas. An organist at the court, he spent a good part of his career there. The oratorio Santa Elena al Calvario (1734, text by Metastasio) represents the BUDGET summit of his career. Upon request Among the composers featured in this program, Emanuele Barbella is the least known today. A prominent student of Leonardo Leo, he was celebrated from CONTACT London to Paris at the time, where dozens of his works were published. His les muffatti musical language is formed from Neapolitan elements: striking thematic and Emilie Menz dynamic contrasts, surprising harmonies, and multiple chromatic shifts. General Manager +32 (0)474 533 148 Francesco Durante was perhaps the most renowned Neapolitan composer of +32 (0)2 503 27 33 the period. An extensive body of religious works, vocal duets, keyboard music [email protected] and several concertos in a mixed style, many of which include virtuoso and lyrical passages, have survived. > www.lesmuffatti.be Alessandro Scarlatti worked in Naples for many years. The three-movement overture is typical of his writing, and it was undoubtedly his influence that stand- ardised the “Italian overture” form for the next generation. Giovanni Battista Pergolesi composed his Stabat Mater, one of the greatest masterpieces of the baroque period, in 1735. It is one of the most poignant settings of this 13th century poem, composed in a very controlled and chastened style, perfectly in keeping with its tragic text..

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Press Caffarelli
Caffarelli pt3 VOIX-DES-ARTS.COM, 21_09_2013 http://www.voix-des-arts.com/2013/09/cd-review-arias-for-caffarelli-franco.html 21 September 2013 CD REVIEW: ARIAS FOR CAFFARELLI (Franco Fagioli, countertenor; Naïve V 5333) PASQUALE CAFARO (circa 1716 – 1787) JOHANN ADOLF HASSE (1699 – 1783), LEONARDO LEO (1694 – 1744), GENNARO MANNA (1715 – 1779), GIOVANNI BATTISTA PERGOLESI (1710 – 1736), NICOLA ANTONIO PORPORA (1686 – 1768), DOMENICO SARRO (1679 – 1744), and LEONARDO VINCI (1690 – 1730): Arias for Caffarelli—Franco Fagioli, countertenor; Il Pomo d’Oro; Riccardo Minasi [Recorded at the Villa San Fermo, Convento dei Pavoniani, Lonigo, Vicenza, Italy, 25 August – 3 September 2012; Naïve V 5333; 1CD, 78:31; Available from Amazon, fnac, JPC, and all major music retailers] If contemporary accounts of his demeanor can be trusted, Gaetano Majorano—born in 1710 in Bitonto in the Puglia region of Italy and better known to history as Caffarelli—could have given the most arrogant among the opera singers of the 21st Century pointers on enhancing their self-appreciation. Unlike many of his 18th-Century rivals, Caffarelli enjoyed a certain level of privilege, his boyhood musical studies financed by the profits of two vineyards devoted to his tuition by his grandmother. Perhaps most remarkable, especially in comparison with other celebrated castrati who invented elaborate tales of childhood illnesses and unfortunate encounters with unfriendly animals to account for their ‘altered’ states, is the fact that, having been sufficiently impressed by the quality of his puerile voice or convinced thereof by the praise of his tutors, Caffarelli volunteered himself for castration. It is suggested that his most influential teacher, Porpora, with whom Farinelli also studied, was put off by Caffarelli’s arrogance but regarded him as the most talented of his pupils, reputedly having pronounced the castrato the greatest singer in Europe—a sentiment legitimately expressive of Porpora’s esteem for Caffarelli, perhaps, and surely a fine advertisement for his own services as composer and teacher.
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Opera Olimpiade
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Going for a Song
FESTIVALS GOING FOR A SONG The Brighton Early Music Festival 2012 celebrates its 10th birthday in 2012. Known for its lively and inspiring programming, this year’s highlights include its most spectacular production yet: ‘The 1589 Florentine Intermedi’. Organisers promise ‘a thrilling experience with all sorts of surprises.’ For more information, see http://www.bremf.org.uk Photo: ©BREMF Cambridge Early Music Italian Festival 28-30 September Italy was the source of many of the musical innovations of the fifteenth, sixteenth and seventeenth centuries, and CEM’s Festival of Italian Music explores this fertile period, welcoming some of Europe’s foremost performers of these genres. It was exactly 300 years ago that Vivaldi published his ground-breaking set of 12 Julian Perkins, one of the leaders of the new concertos, L’Estro Armonico generation of virtuoso keyboard players in the (The Birth of Harmony), which UK, will play Frescobaldi and the Scarlattis – La Serenissima (pictured), the father and son – in a lunchtime clavichord Vivaldi orchestra par excellence, recital on 30 September. will be playing with terrific verve and style. www.CambridgeEarlyMusic.org tel. 01223 847330 Come and Play! Lorraine Liyanage, who runs a piano school in south London, has always been intrigued by the harpsichord. Inspired by a colleague to introduce the instrument to her young students in her home, she tells how the experiment has gone from strength to strength – and led to the purchase of a spinet that fits obligingly in her bay window… 10 ast Summer, I received an email from Petra Hajduchova, a local musician enquiring about the possibility of teaching at my piano school.
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Judit Zsovár Anna Maria Strada Del Pò, Handel's Prima Donna: Portrait of an Uncommon Voice
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La Serva Padrona Set by Pergolesi
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RUSSIAN TOPIC in WORKS of the ITALIAN COMPOSERS Liudmila Kazantseva
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Marmontel/[Piccinni] on Neapolitan Opera Beverly Jerold (Princeton Research Forum) [email protected] When the new year of 1777 broke upon Paris, the writer and Académie française member Jean-François Marmontel unexpectedly and repeatedly found himself the target of anonymous ridicule and sarcasm in the new Journal de Paris, the first daily newspaper to be established in France. This incited the quarrel between the Gluckists and the Piccinnists, in which the former used the power of a daily paper with no competitors to bar from the Paris Opéra any challenge to Gluck’s domination — an unusual episode to be treated in a Royal Musical Association Monograph. Its events inspired Marmontel’s epic poem Polymnie1, most of which he declined to publish until after his death because it involved recognizable personalities. The first four cantos, published in 1787, concern only historical personages and aesthetic principles of opera. While modern reference works have labeled Polymnie a ‘satire’, it is instead an accurate rendering of events that can be documented. As the librettist for the Italian composer Niccolò Piccinni’s first Paris opera Roland, Marmontel undoubtedly learned much about Italian opera and its leading figures, conveying it in two cantos of Polymnie. The work is named for one of the nine muses Polyhymnia, goddess of song and inventor of harmony, and relates her efforts on behalf of a natural, unaffected style of song and singing. When Marmontel contrasts Neapolitan composition with music having different traits, it is an oblique reference to Christoph Willibald Gluck’s operas for Paris. In 1773, another well-known figure, Charles Burney, also commented on the difference between the music of Johann Adolph Hasse, who composed in the Neapolitan manner, and that of Gluck’s new style: 1.
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